拾物、餘物、棄物的加減帳
2019~
「荒物型錄」的創作概念來自契可夫的句子：「唯有熵是與生俱來的。」在熱力學裡熵被定義為是無序的量度，是在時間中朝向失序與混亂的定則，是耗盡能量的懲罰。我們的世界越來越處於一種“高熵”的狀態。如果根據第二定律：孤立系統的熵狀態永遠只會增加，不會減少，而企圖維持秩序與結構終究徒勞，只會生產出更多的熵。這系列作品的材料之一來自我多年來在生活中拾得的鏽鐵，鏽鐵是熵的完美代言人，它是人類歷史上最古老的顏料、也是生命與死亡的象徵。
生死循環相連，於是，我使用各種纖維技法，包括梭織、造紙、藍染、鉤編等，將生活中的廢棄現成物重新組合建構，在遊戲與實驗中完成再生的過程。對我來說，創作真正的企圖或許是用纖維的語言寫無以名狀的詩、以結構的秩序探索物質的神經系統、修補他人眼中的棄物、烹調生活的糟粕，以回應這個日漸趨疲(熵entropy)的世界。
This installation consists of many small pieces; the number of components and their relational positions may be adjusted for exhibition according to conditions of actual gallery space.
The idea was inspired by the quote by Anton Chekhov, “Only entropy comes easy”. Entropy as a thermodynamic quantity is often interpreted as the degree of randomness in the system; it is a gradual decline into disorder, a punishment for depleting energy. While rustic iron may be the perfect representative for entropy, it is also the oldest and the liveliest pigment in human history.
Living is connected with dying; it changes and regenerate through oxidisation and reduction. Hence with various techniques of structuring fibres, I reconstruct the pieces of rustic iron that I found randomly in life, and tentatively create some text.
This creation came from death, went through rebirth, and once again is on its way to decay.
YANG, WeiLin 楊 偉林 